ARRI launched at the BSC Expo in London a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible with existing lenses, accessories, and workflows.

“The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look—one that is truly immersive, with a three-dimensional feel. The various recording formats and sensor modes make this look available to all productions and satisfy any possible deliverable requirement.”

What has impressed cinematographers most, however, is the look. Skin tones are rendered beautifully and kindly, while all the detail of landscapes can be captured. Our focus was on the emotional impact of images, creating unique and pleasing bokeh both in the foreground and background.”

New LPL lens mount

Optimized for large-format sensors, the new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Backwards compatible with lenses, accessories, and workflows Although the camera, lens mount, and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

“As always, we want to make sure that our customers get the best possible return on their investments in ARRI equipment,” says Stephan Schenk, Managing Director of ARRI Cine Technik and responsible for the business unit Camera Systems. “Providing compatibility with existing lenses, camera accessories, workflows, ARRI Look Files, lens metadata, and software tools makes it easier for crews to work with ALEXA LF on set and for rental houses to incorporate it into their inventories.

We think the system sets a new standard for the future, but it also minimizes redundancies and leaves no one behind.” The first ALEXA LF cameras will be shipped at the end of March 2018. The initial set of four Signature Prime lenses (35 mm, 47 mm, 75 mm, and 125 mm) will be shipped in early June 2018. The remaining lenses will be available over the course of the year.

Panavision introduced the new Millennium DXL2 8K camera at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution (Stand 502). The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances.

“The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”

As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design.

Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.”

The RED MONSTRO 8K VV sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science.

An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses.

New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays.

“We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.”

The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems.

Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery.

DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis.

SmallHD introduces the 502 Bright daylight viewable on-camera 5-inch monitor. The 1,000nit display incorporates the extensive feature set of the 500 Series monitors, while raising the bar on view-ability in direct sunlight.

The 502 Bright displays 100% of Rec. 709 color gamut. The 1920x1080 resolution LCD screen provides full high-definition viewing. It utilizes SmallHD’s latest software, version OS3, which provides false color and waveform tools. The unit also features is a new battery meter and the ability to adjust color computer-free with the SmallHD Color Probe.

For those who prefer to use waveform to compose an image, OS3 features spot metering to an already extremely customizable waveform. The spot meter indicates the exposure level of a particular area of an image without the psychedelic appearance false color can create. It is particularly useful for exposing faces.

Consistent with other SmallHD monitors, the unit is extremely rugged thanks to a milled aluminum frame and a Gorilla Glass protective screen. The 502 Bright has both HDMI and SDI inputs and outputs, with lightning fast cross conversion between the two video formats.

The new 502 Bright weighs just 9.4oz (267.5g), and is 6.4"W x 3.4"H x 1.1"D (16.2 x 8.6 x 2.8 cm). Deliveries begin in February 2018 with an MSRP of $1299.

The 502 Bright is available from SmallHD authorized dealers or SmallHD’s website.

The American Society of Cinematographers announced the nominees in all five competitive categories for the 32nd annual ASC Awards for Outstanding Cinematography.

THEATRICAL RELEASE

Roger Deakins, ASC, BSC for Blade Runner 2049

Bruno Delbonnel, ASC, AFC for Darkest Hour

Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk

Rachel Morrison, ASC for Mudbound

Dan Laustsen, ASC, DFF for The Shape of Water

SPOLIGHT AWARD
Máté Herbai, HSC for On Body and Soul
Mikhail Krichman, RGC for Loveless
Mart Taniel for November

EPISODE OF A SERIES FOR NON-COMMERCIAL TELEVISION
Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
Alasdair Walker for Outlander (“The Battle Joined”) on Starz

EPISODE OF A SERIES FOR COMMERCIAL TELEVISION
Dana Gonzales, ASC, ABC for Legion (“Chapter 1”) on FX
David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
Kurt Jones for The Originals (“Bag of Cobras”) on The CW
Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

MOTION PICTURE, MINISERIES, OR PILOT MADE FOR TELEVISION
Pepe Avila del Pino for The Deuce pilot on HBO
Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
Shelly Johnson, ASC for Training Day pilot (“Apocalypse Now”) on CBS
Christopher Probst, ASC for Mindhunter pilot on Netflix

The winners will be revealed at the organization’s February 17 ceremony, which will be emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM). The event will be held at the Ray Dolby Ballroom at Hollywood & Highland.

The nominations were announced this morning, January 9th by Natalie Dormer and Letitia Wright at BAFTA’s London headquarters, 195 Piccadilly.

The EE British Academy Film Awards take place on Sunday 18 February
at the Royal Albert Hall, London. The ceremony will be hosted by Joanna
Lumley and will be broadcast exclusively on BBC One and BBC One HD. The
ceremony is also broadcast in all major territories around the world.

*Nominations are correct at the time of going to print. BAFTA reserves the right to make changes to the names listed at any time up until 18 February 2018.

Ridley Scott premiered "All the Money in the World" on December 25. The film recounts the kidnapping of John Paul Getty III in Rome and the refusal of his moneygrubber grandfather J. Paul Getty, the richest man in the world at that time to pay any ransom whatsoever for his release.

In order to complete the successful depiction of the slow negotiations between the kidnapping gang and the Getty family, Ridley Scott had to stop the production of the film to recast his principal actor, the disgraced Kevin Spacey for Christopher Plummer to play the tightwad old tycoon.

The evening presentation started with the introduction of the new VENICE camera features and the showing of the short film "The Dig" photographed by Claudio Miranda, ASC and directed by Joe Kosinski, followed by a Q&A panel moderated by Peter Crithary, Sony’s marketing and production manager for media solutions and production technology. The presentation ended at Stage 7 with a hands-on time with the cameras, lenses and workflow demos.

VENICE’s new full frame sensor can capture full frame 24mm high
anamorphic, S35 18mm high anamorphic, S35+ 20mm high anamorphic, FF
spherical, S35 spherical, S35 14mm high (as in F65, F55), etc. meaning
you could use practical any still photo lens out there.

VENICE is the world’s first camera of its class with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.

VENICE has control displays on both sides of the camera, with the main display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features such as ND filter, shutter, FPS, White Balance and Exposure Index. The control interface is an all-new design based on extensive researches with camera operators.

Interchangeable Sensor Block assembly with full frame sensor and E-mount. This module can be easily swapped by the user on the field. No camera house services need it. Upgrade to future sensors available by Sony, keeping the camera.

VENICE can record two streams simultaneously onto two separate media cards. RAW or X-OCN on the AXS-R7 as a digital negative and XAVC or ProRes onto internal SxS cards for editing. VENICE will also, with a firmware update, record RAW or X-OCN on the AXS-R7 and XAVC 4K internally at the same time. When not using the AXS-R7, VENICE can record both XAVC 4K and ProRes simultaneously. If you’re using one SxS card, it would be ProRes 422 Proxy.

XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. VENICE supports XAVC Class480, which is the highest bitrate and quality available. Apple ProRes including ProRes 422 proxy formats are popular in postproduction, and are supported by VENICE. Using16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal values than 12-bit RAW.

The DVF-EL200 was specifically created as the perfect partner for
VENICE due to its exceptional performance and additional control
features*. It has a 1920 x 1080-resolution OLED panel with exceptional
high contrast, enabling precise, high resolution focusing and framing.
Its all-new ergonomic design allows for tool-free attachment/detachment
and reconfiguring within seconds. A rotary encoder provides instant
access to brightness, peaking and contrast. The industry-standard LEMO
connector offers exceptional durability. * V2.0 firmware required

VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. VENICE’s control buttons reflect the requirements of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring operation is further enhanced by the addition of an extra HD output alongside the standard 4K-SDI. VENICE can be powered by both 12 V and 24 V power sources that can be connected at the rear. A wide range of accessories are supported, including standard Fischer connectors. For enhanced durability in tough conditions, the viewfinder uses a LEMO connector. Suggested List Price: 42,000

Peter Crithary moderated the Q& A panel with Claudio Miranda ASC, and director Joe Kosinski. Claudio Miranda described the look of VENICE: “It has a very cinematic
look. Colors are really beautiful. It is a sort of softer, cosmetic,
tonally well rounded look, with skin tones that are gorgeous. It doesn’t
feel video-like. It’s not harsh. This is a leap forward. Color
rendition is really nice. Tonal values hold true in the lower toe of
exposure. It holds highlight detail and color information. It doesn’t go
red in the shadows. I would say there’s more dynamic range than the F65".

Jeffrey A. Reyes, BandPro Flm & Digital Inc., Sales Manager placed the same evening an order for fifty new CineAlta VENICE digital motion picture cameras. Preorder the new Sony VENICE at Band Pro and get it first! Call your BandPro Salesperson at 1-888-BAND-PRO or email sales@bandpro.com today.

Les Zellan, Chairman of Cooke Optics was one of the vendors at Stage 7 outfitting the new Sony VENICE camera with one of his Cooke s7/i 32mm lenses.

Peter Crithary, Sony’s marketing and production manager (l), Dan Ming, Focus Puller of the short film "The Dig" and Claudio Miranda at Sony Pictures studio 7 at the unveiling of Sony's CineAlta VENICE Full Frame & S35 digital motion picture camera.

Cine Gear Expo opens tomorrow and there is a lot to see. Camera and lens manufacturers have announced new releases for this year. Here is a small nugget of what is new on the floor at Paramount Studios.

The cameras come in two configurations--same insides; variations outside. C200 is the full production-ready camera package that can be used right out of the box, with an LCD Monitor, nice mounting brackets, Camera Grip and Handle and a 1.77 million dot OLED pivoting Electronic View Finder (EVF) at the rear. The C200B is the same camera -- but without the EVF in back, without handle, handgrips, LCD monitor or brackets.

The Angenieux 48-130 Lightweight Compact Optimo Style Zoom Lens and two new accessories for the Optimo A2S Anamorphic Zoom Lens line.The Optimo Style 48-130 T3 is the third lightweight compact zoom lens in the Angénieux Optimo Style line. It joins the Optimo Style 16-40 T2.8 and 30-76 T2.8, the two other lightweight compact zooms of the range, and the 10x Optimo Style 25-250 T3.5. The new Optimo Style 48-130 is the longest zoom in the lightweight series . It weighs only 4.3lb/1.95kg and has a Close Focus at 3’1”/0.94m. It is the perfect lens for close-ups, portraits, or tight shots either handheld, on Steadicam, remote heads, gimbals, rigs, or drones.

See us at booth #40

Cine Gear attendees can find Panasonic at booth S225 on Stage 15. Visitors can get hands on with Panasonic's range of cinema cameras, including the VariCam Pure, VariCam 35, VariCam LT and GH5In addition, Panasonic will be demonstrating its live 360-degree camera, 4K handheld camcorders and the AU-XPD3, the industry's fastest offload device with Thunderbolt3.

The new, super fast DM5.

Light Ranger 2, MDR-4, DM2X. Come check out our Light Ranger 2 reel at Booth #53! The DM5 provides breakthrough power and speed in a compact, lightweight package. It is 2.5x faster than its DM4X predecessor and can provide big-motor performance for mobile camera applications where size and weight are critical. The motor uses polished metal gears coated with super hard diamond-like carbon to maintain its precision and virtually eliminate wear.

Panavision to Unveil Powerful New Tools for Groundbreaking Millennium DXL 8K Camera.
Panavision will reveal advanced new tools for its unprecedented, large-format Millennium DXL 8K camera at their booth in Stage 2 #S302. Demonstrating the evolution of their innovative approach to filmmaking, Panavision will debut a set of fast, wirelessly controlled Primo Artiste lenses that cover the full 8K HDR image; the world’s first HDR OLED Primo Viewfinder; a new color spectrum filter called PX-Pro; and DXL Control, an iPhone app for remote camera control. These new technologies support Panavision’s Millennium DXL, which was engineered to offer superior creative control over the entire imaging chain.

Fujinon will have a new booth location at this weekend's Cine Gear Expo, inside on Stage 15 - Booth S224 - located between ARRI, Panasonic and Blackmagic. In addition to showing our full lineup of 11 Cine zooms, you are also invited to attend our Lens Projection Workshops featuring guest Optical Technicians from across the country. We have partnered with Gecko-Cam to create an intimate Lens Projection Room.

Zyligh Pro-Palette Color LED Cyclorama Stage 15, Booth S211
Designed for television studios and theatres, the 350-watt Pro-Palette Color LED cyclorama light produces a soft, even field of asymmetric light. Use its intuitive control panel to create millions of colors without gels or filters, or shine pure white for a clean chromakey wash. The Pro-Palette Color dims smoothly from 0-100% and features built-in DMX operation. Built for floor use or truss mount. Daisy chain up to four units for a broader spread.

WELCOME TO THE VIDEOBLOGDEDICATED TO THE CRAFT OFCINEMATOGRAPHY & MOTIONPICTURE CAMERA OPERATION

71TH CANNES FILM FESTIVAL

CATE BLANCHETT, JURY PRESIDENT OF THE FESTIVAL DE CANNES 2018

Australian actor Cate Blanchett is to be President of the Jury of the 71st edition of the Festival de Cannes which will be taking place in May 2018.

“I have been to Cannes in many guises over the years; as an actress, producer, in the marketplace, the Gala-sphere and in Competition,” she declared, “but never solely for the sheer pleasure of watching the cornucopia of films this great festival harbours.”

"I am humbled by the privilege and responsibility of presiding over this year's jury,” she continued. “This festival plays a pivotal role in bringing the world together to celebrate story; that strange and vital endeavour that all peoples share, understand and crave."

Pierre Lescure, Festival de Cannes President and Thierry Frémaux, General Delegate, said: "We are delighted to welcome such a rare and unique artist whose talent and convictions enrich both screen and stage. Our conversations from this autumn tell us she will be a committed President, a passionate woman and a big-hearted spectator.”

The Festival de Cannes 2018 will take place from May 8th – 19th

ARRI LARGE FORMAT CAMERA SYSTEM UNVEILED AT BSC EXPO

ARRI Large Format Camera System. This is a stand alone, 64 reprint of the ARRI LF Special Report from FDTimes, February 2018 Issue 86. 9MB PDF here.

DONATE TO MEDECINS SANS FRONTIERES. HELP TO SAVE LIVES.

JON FAUER'S FILM AND DIGITAL TIMES

September 2017: Issue 84 Latest Edition. Subscribe.

BAND PRO ONE WORLD OPEN HOUSE 2017

Band Pro One World Open House 2017 featuring vendors and services under a Venetian Carnival setting.

Oscar winner DoP Claudio Miranda ASC was the guest of honor for his ongoing contributions to the art of cinematography.

AMERICAN SOCIETY OF CINEMATOGRAPHERS

The American Society of Cinematographers is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography; it accomplishes this by publishing the internationally renowned magazine American Cinematographer and the venerable American Cinematographer Manual, through seminars at schools and industry events, and via one-on-one mentoring. ASC members volunteer their time for such activities.

SOCIETY OF CAMERA OPERATORS

The principal purpose of the SOC is to recognize and nurture excellence in the field of camera operation and, secondarily, in the allied camera crafts, and to encourage development of both technology and production methods which will help our members achieve that excellence

INTERNATIONAL CINEMATOGRAPHERS GUILD

The International Cinematographers Guild represents the most talented camera professionals in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and - as we move into the 21st century - our computer screen. That's why we're so excited about offering this site to our members, everyone in our industry and to people everywhere who want to know more about what we do. International Cinematographers Guild members - Directors of Photography, Camera Operators and Assistants, Computer Graphics Specialists, Visual Effects Supervisors, Still Photographers and more - are part of the International Alliance of Theatrical Stage Employees.

THE BRITISH SOCIETY OF CINEMATOGRAPHY

The British Society of Cinematographers is an educational, social and professional organisation. Since its formation in 1949 its prime objective has been to promote and encourage the highest standards in the art and craft of cinematography. Our membership, which is by invitation only, comprises of some of the most talented Directors of Photography and Camera Operators in the United Kingdom. It also encompasses many distinguished friends and patrons from the film and television industry.

IMAGO EUROPEAN FEDERATION OF CINEMATOGRAPHERS

IMAGO is the European Federation of Cinematographers, a collaborative global umbrella for the world´s Cinematographers Societies.

SHOOTONLINE provides a full range of creative and production news about the ever-changing landscape of advertising and TV spot production making.

KODAK CINEMATOGRAPHER'S FIELD GUIDE (pdf)

This pocket-sized publication provides up-to-date and easy-to- use information about all KODAK Motion Picture Camera Films and several related subjects. We designed the book to help you choose and order the right films for your needs and to help you use the films most effectively. The guide is divided into five major sections for easy reference: * Motion Picture Camera Films * Filter Information * Tips and Techniques * Formats and Packaging * Ordering Raw Stock

CINEMATOGRAPHY NEWS!!

What is ACES? The Academy Color Encoding System (ACES) is becoming the industry standard for managing color throughout the life cycle of a motion picture or television production. From image capture through editing, VFX, mastering, public presentation, archiving and future remastering, ACES insures a consistent color experience that preserves the filmmaker’s creative vision.

Wratten-Conversion Filters for Color Films

These filters are intended for usewhenever significant changes inthe color temperature of theillumination are required (forexample, daylight to artificial light).The filter may be positionedbetween the light source and otherelements of the system or over thecamera lens.*These values are approximate.Check critical work accurately,especially ifyou use more thanone filter.

The 90th Oscars®, hosted by Jimmy Kimmel, will be held on Sunday, March 4, 2018, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

The Society of Camera Operators Lifetime Achievement Awards is held on Saturday February 3, 2018 at the Loews Hollywood Hotel, Hollywood, California.

10 SCIENTIFIC AND TECHNICAL ACHIEVEMENTS TO BE HONORED WITH ACADEMY AWARDS®

The Academy of Motion Picture Arts and Sciences announced today that 10 scientific and technical achievements represented by 34 individual award recipients, as well as one organization, will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 10, at the Beverly Wilshire in Beverly Hills.

“This year we are happy to honor a very international group of technologists for their innovative and outstanding accomplishments,” said Ray Feeney, Academy Award® recipient and chair of the Scientific and Technical Awards Committee. “These individuals have significantly contributed to the ongoing evolution of motion pictures, and their efforts continue to empower the creativity of our industry.”

Unlike other Academy Awards to be presented this year, achievements receiving Scientific and Technical Awards need not have been developed and introduced during 2017. Rather, the achievements must demonstrate a proven record of contributing significant value to the process of making motion pictures.

The Academy Awards for scientific and technical achievements are:

TECHNICAL ACHIEVEMENT AWARDS (ACADEMY CERTIFICATES)

To Jason Smith and Jeff White for the original design, and to Rachel Rose and Mike Jutan for the architecture and engineering, of the BlockParty procedural rigging system at Industrial Light & Magic.

To Joe Mancewicz, Matt Derksen and Hans Rijpkema for the design, architecture and implementation of the Rhythm & Hues Construction Kit rigging system.

This toolset provides a novel approach to character rigging that features topological independence, continuously editable rigs and deformation workflows with shape-preserving surface relaxation, enabling fifteen years of improvements to production efficiency and animation quality.

To Alex Powell for the design and engineering, to Jason Reisig for the interaction design, and to Martin Watt and Alex Wells for the high-performance execution engine of the Premo character animation system at DreamWorks Animation.

To Rob Jensen for the foundational design and continued development, to Thomas Hahn for the animation toolset, and to George ElKoura, Adam Woodbury and Dirk Van Gelder for the high-performance execution engine of the Presto Animation System at Pixar Animation Studios.

Presto allows artists to work interactively in scene context with full-resolution geometric models and sophisticated rig controls, and has significantly increased the productivity of character animators at Pixar.

SCIENTIFIC AND ENGINEERING AWARDS (ACADEMY PLAQUES)

To John Coyle, Brad Hurndell, Vikas Sathaye and Shane Buckham for the concept, design, engineering and implementation of the Shotover K1 Camera System.

To Jeff Lait, Mark Tucker, Cristin Barghiel and John Lynch for their contributions to the design and architecture of the Houdini visual effects and animation system.

Houdini’s dynamics framework and workflow management tools have helped it become the industry standard for bringing natural phenomena, destruction and other digital effects to the screen.

To Bill Spitzak and Jonathan Egstad for the visionary design, development and stewardship of the Nuke compositing system.

Built for production at Digital Domain, Nuke has become a ubiquitous and flexible tool used across the motion picture industry, enabling novel and sophisticated workflows at an unprecedented scale.

To Abigail Brady, Jon Wadelton and Jerry Huxtable for their significant contributions to the architecture and extensibility of the Nuke compositing system.

Expanded as a commercial product at The Foundry, Nuke is a comprehensive, versatile and stable system that has established itself as the backbone of compositing and image processing pipelines across the motion picture industry.

To Leonard Chapman for the overall concept, design and development, to Stanislav Gorbatov for the electronic system design, and to David Gasparian and Souhail Issa for the mechanical design and integration of the Hydrascope telescoping camera crane systems.

With its fully waterproof construction, the Hydrascope has greatly advanced crane technology and versatility by enabling precise long-travel multi-axis camera movement in, out of and through fresh or salt water.

ACADEMY AWARD OF MERIT (OSCAR STATUETTE)

To Mark Elendt and Side Effects Software for the creation and development of the Houdini visual effects and animation system.

With more than twenty years of continual innovation, Houdini has delivered the power of procedural methods to visual effects artists, making it the industry standard for bringing natural phenomena, destruction and other digital effects to the screen.

GORDON E. SAWYER AWARD (OSCAR STATUETTE)

Jonathan Erland

Presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.

The 90th Oscars® will be held on Sunday, March 4, 2018, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

CINE GEAR EXPO - LOS ANGELES 2017

Cine Gear Expo 2017 is the premier annual event for professionals engaged in the technology, entertainment and media industry. The show lasts four days in Los Angeles this June in Hollywood, California.

WHITE INK. THE MOVIE

White Ink The Movie. True love always brings you a second chance, whether you believe you deserve it or not.

70TH FESTIVAL DE CANNES

A dancing Claudia Cardinale is the image representing the official poster of the 70th Festival de Cannes running from 17th to 28th of May. ‘I am honoured and proud to be flying the flag for the 70th Festival de Cannes,’ says Claudia Cardinale, and delighted with this choice of photo. With Monica Bellucci as Mistress of Ceremonies and Pedro Almodóvar as the President of the Jury, the Festival de Cannes will kick off on Wednesday May 17th.